Sanguine / Bloedrood

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    During the cultural city festival Antwerp Baroque 2018. Rubens Inspires, the M HKA, the Museum of Contemporary Art Antwerp, juxtaposes the spirit of the baroque masters with the vision of contemporary top artists. With the exhibition Sanguine/Bloedrood (Blood Red), curator Luc Tuymans aims to overwhelm the visitor by placing key works from the baroque of, among others, Francisco de Zurbarán and Caravaggio, in dialogue with works by classical contemporary masters, such as On Kawara and Edward Kienholz, as well as new works by contemporary stars such as Zhang Enli, Takashi Murakami, Michaël Borremans, Sigmar Polke and Tobias Rheberger. 

    antwerpenbarok2018.be

    Sanguine/Bloedrood. Luc Tuymans on Baroque

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    (c)image: M HKA, courtesy Edward Kienholz, L.A. Louver GAllery
    Edward & Nancy Kienholz Documentation, 1971-1972
    Edward Kienholz
    Miscellaneum , closed: 6.4 x 26.7 x 29.2 cm, open: 5.1 x 57.8 x 29.2 cm

    VIDEO

    "Story of an Artist," 1962, directed by William Kronick

    “Kienholz on Exhibit,” 1966, directed by June Steel

    Courtesy of Nancy Reddin Kienholz, and L.A. Louver, Venice, California

    DISPLAY CASE 1

    1972 documenta 5

    Catalogo della mostra / Exhibition catalogue, 1972

    Edizione originale / Original edition

    Pubblicato da / Published by documenta GmbH/Verlagsgruppe Bertelsmann GmbH

    Biblioteca Fondazione Prada

    Courtesy Studio Luc Tuymans

    Quaderni Fondazione Prada

    Five Car Stud, Kienholz #5

    Anno II, maggio 2016

    Kienholz: Five Car Stud, 2012

    Courtesy of Studio Luc Tuymans

    DISPLAY CASE 2

    Edward Kienholz & Nancy Reddin Kienholz 

    Sawdy Documentation Book 

    1971–72 

    Collection of L.A. Louver, Venice, California 

    Courtesy: of the artist and L.A. Louver, Venice, California

    Edward Kienholz a/to Harald Szeemann e/and Annette Allwardt, 21.08.1972

    Lettere battute a macchina / Typewritten letters.

    Courtesy Harald Szeemann papers, The Getty Research Institute, Los Angeles.

    © J. Paul Getty Trust

    Annette Allwardt a/to Edward Kienholz, 27.09.1972

    Lettere battute a macchina / Typewritten letters.

    Courtesy Harald Szeemann papers, The Getty Research Institute, Los Angeles.

    © J. Paul Getty Trust

    Edward Kienholz & Nancy Reddin Kienholz 

    Sawdy Documentation Book 

    1971–72 

    Collection of L.A. Louver, Venice, California 

    Courtesy: of the artist and L.A. Louver, Venice, California

    Five Car Stud

    Vedute dell’installazione a / Installation views at documenta 5, 1972

    Stampe digitali / Digital prints

    Photo: Heyne Fotografie

    Courtesy of L.A. Louver, Venice, CA.

    © Kienholz and documenta Archiv

    Ed. Kienholz Documenta 5, 1972

    Courtesy Belga Image

     

    The archival materials related to Five Car Stud are the result of a research conducted by Fondazione Prada at the Getty Research Institute, Los Angeles and at the documenta Archiv, Kassel on the occasion of the exhibition Kienholz: Five Car Stud, Fondazione Prada, Milan, 19 May 2016-19 March 2017, curated by Germano Celant. The documents selection was achieved by Chiara Costa.

    Together, Edward and Nancy Kienholz create confrontational installations, assemblages and environments: life-size characters in a recognisable setting and in a characteristic silent pose surrounded by banal objects. Their oeuvre constitutes a ferocious commentary on racism, sexual stereotypes, poverty, greed, corruption, imperialism, patriotism, religion, alienation and – above all – moral hypocrisy.

    In 1972, Edward Kienholz was asked by Harald Szeeman to take part in documenta 5 (a leading exhibition that takes place every five years in Kassel, Germany), where the installation Five Car Stud was shown for the first time: nine life-size figures and five cars in a harrowing night time setting.

    The installation shows a circle of masked white men, lit by the headlights of the surrounding cars, who are in the act of pinning down and castrating a black man. In two of the vehicles, a child and a white woman – the son of one of the attackers, and the companion of the victim – witness the scene with powerless desperation. Five Car Stud is a timeless blow, an indictment of white supremacy and racist violence.

    After documenta, the installation disappeared into a Japanese museum collection. In 2008, Nancy Reddin Kienholz, the wife and collaborator of Edward Kienholz, started the total restoration of Five Car Stud at the Kienholz Studio in Hope, Idaho. It was exhibited again at the Los Angeles County Museum of Art in Los Angeles (2011-2012), the Louisiana Museum of Modern Art in Denmark (2012) and at Fondazione Prada in Milan (2016-2017), which bought the work for its collection. 

    In Sanguine/Bloedrood, the work is shown as it was first presented at documenta 46 years ago, outside the exhibition itself and in the darkened setting of a large dome.

    The legendary installation took three years to complete, during which Edward Kienholz kept an accurate account of the artistic creation process. All its parts were extensively described in detail in a typed document. Kienholz also presents his view on the expected socio-political consequences of the work. A number of objects that form part of the documentation of the work are included in this exhibition.

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